THE RECORDER EDUCATION JOURNAL

Divisions on a Ground for the recorder A Bibliographic Essay

David Lasocki

Diminution or division to a ground is the concordance of quick and slow notes The manner of expressing it is thus A ground subject or bass (call it which you please) is pricked [ie written down] in two several papers one for him who is to play the ground the other for him who plays upon the viol who having the said ground before his eye (as his theme or subject) plays such variety of descant and division thereupon as his skill and present invention do then suggest unto him In this manner of play (which is the perfection of the viol or any other instrument if it be exactly performed) a man may show the dexterity and excellency both of his hand and invention to the delight and admiration of those that hear him

Christopher Simpson The Division-Violist or An Introduction to the Playing upon a Ground (London 1659) 211

In England during the Baroque period - as expressed less colorfully but more precisely in New Grove 2-aground was A melody usually in the bass and hence often called a ground bass recurring many times in succession accompanied by continuous variation in the upper parts The term ground may refer to the bass melody itself to the process of repetition in general or to a composition in which it occurs2 A slightly more philosophical definition is due to Andreas Habert A ground is a beginning point for the unfolding idea and boundary of a series of variations composed or improvised the ground appeared as a bass melody a harmonic model that always remained the same or was lightly altered or a melody in the upper part3 The concept of the ground goes back to Renaissance dances in which the musicians had to keep repeating the music indefinitely for the sake of the dancers and presumably varied the melody in order to alleviate their own boredom

The term division was used in England

during the same period to denote a technique of variation in which the notes of the ground are divided into shorter notes4 In practice it could also be a real or imagined melody above the ground bass that was divided in this manner As Simpson noted divisions were often improvised For example James Paisible the most celebrated recorder player in England was advertised as giving an extempore performance to a ground in a London public concert in 17055 But divisions on grounds were also written down As Simpson put it (p 21) Invention is a gift of nature but much improved by exercise and practice He that hath it not in so high a measure as to play extempore to a ground may notwithstanding give both himself and hearers sufficient satisfaction in playing such divisions as himself or others have made for that purpose - in the performance whereof he may deserve the name of an excellent artist For here the excellency of hand may be shown as well as in the other and the music perhaps better though less to be admired as being more studied By the late Baroque a ground had become a device for creating a long unified movement In the hands of lesser masters divisions on a ground bass had the understandable tendency to be monotonous But a Purcell could vary and overlap the phrase structure over the repeated bass producing considerable rhythmic and harmonic variety

What follows is a bibliographical essay about divisions on a ground for the recorder in the late Baroque period It draws some of its inspiration from two sources that may be inaccessible to readers Peter Holmans excellent edition The Division Recorder now unfortunately out of print and a magisterial article in German by Habert6

Divisions on a ground are already found in two of the earliest recorder tutors Humphry Salters The Genteel Companion (London 1683)

10

boasts on its title page that it features a collection of the best and newest tunes and grounds extant It includes UMr Reddins Ground LlOld Simon the King and LlMr Fardinels Ground as well as a variant of the last called LIThe Kings Health These grounds were by no means original recorder music The first comes from a set of suites attributed only to Reading - perhaps t11e royal violinist Balthasar or Valentine Reading7- in Christ Church Library Mus MS 940 and it turns up a year later in The Division-Violin (London John Playford 1684) The continually varied bass presumably original is presented only in the manuscript (and Holmans edition)

Old Simon the King was probably already circulating in a violin version as it is also found in the 1684 edition of The DivisionshyViolin With its rather crude bass line it is an example of what Holman calls the Llrustic style or in other words the unsophisticated harmonic and melodic manner of country fiddlers Habert argues that such sets of divisions should therefore not be interpreted as figured basses an appropriate performance would be with no realization of the bassshyperhaps even without bass-and alternating or combining the melody instruments of a folk ensemble (violin shawm recorder viola da gamba dulcian double bass cittem bandora)

LlMr Fardinels Ground on the other hand is a transposition of a sophisticated violin piece - a set of variations on the folia presumably written by the French violinist Michel Farinel (1649-1726) who is reputed to have visited England from 1675 to 16798 It too was printed in The Division-Violin The Kings Health was a series of divisions on the folia set to words by Thomas DUrfey and published as a song sheet in 16829 (For more on the folia see below)

A second recorder tutor Robert Carrs The Delightful Companion 2nd ed (London 1686) includes An Italian Ground which again made its way into The Division-Violin but not before the 1695 edition and may therefore have been an original recorder ground All the recorder grounds in Salter and Carr have the advantage of being copiously ornamented in the Frenchified style of the day to

A few other recorder grounds are found in English prints and manuscripts of the period The celebrated Italian violinist Niccola Matteis resident in London from about 167011 included a few recorder divisions in his collections of violin airs published in the 1680s and he indicated that some of the violin airs could be performed on the recorder (for details see the bibliography) A Collection of Musicke in Two Parts by Gottfried Finger and

John Banister II (London 1691) features three divisions on grounds by Finger John Channings commonplace book dated 1697 (British Library Add Ms 35043 f 123v) includes a Solo for the Flute by Finger that is actually a division on a ground

Yet when all is said and done it is The Division Flute that we think about in conjunction with recorder divisions Published by the leading London publishers of the day John Walsh and his colleague Joseph Hare12 as late as 1706-08 it is in effect a retrospective collection containing pieces that go back more than thirty years To help us discuss it better here is a table of contents

Il Readings Ground 34 F I V-I ii-V-vi VshyI

12 Pauls Steeple C g i VII VI7-iv V III VII i-iv-V i

13 Faronells Ground 34 g i V i VII III VII i V i V i VII III VII i-VI

14 Old Simon the King 94 F I I IV V 11shy(V) IVV [1]

15 Tollets Ground 94 C I-V 1-V I-~ V-I 16 Green Sleeves to a Ground 64 d VI

VIIi V VI VII i-V I 17 Johney Cock thy Beavor 64 C I V-ii I

V IV-I V-ii-viI I 18 Division on a Ground [Solomon Eccles]

C d i i VII VII i V ~-Vi 19 A Division on a Ground by Mr

[Solomon] Eccles [q a i-v ~-iv-V 110 A Division on a Ground by Mr

[Gottfried] Finger 34 g i V ~-iv V -i iv-VII IIIshyVI iio-V i

111 A Division on a Ground by Mr Indeg [ie John] Banister [1] 34 G I V vi V IV I-IV ii-V I

I12 A Division on a Ground by Mr Banister [II] [Holman pronounces the text hopelessly corrupt] CF I viiO vi-ii V IV iii iii-V I

IIl A Ground by Mr Finger 34 F IIV7shyv~~-v4~-V7I

II2 A Division to a Ground by Mr Solomon Eccles 64 B-flat I V I-~-V I

Il3 A Division on a Ground [Eccles] 34 F I ii V I

II4 A Ground by Mr Solomon Eccles [Ii A new ground called Fagots] 34 C V-I ii-V IVshyiii V-I

Il5 A Division on a Ground [Finger] 34 F I V-I vi-natur~-ivgt V I ~ V I

ll6 An Italian Ground 34 d i iv VII ill IV7~ Vi

Il7 Chacone by Mr Morgan [no bass] Il8 A Chacone [by Jean-Baptiste Lully no

bass] Il9 Division by Mr [William] Hills [no

bass]

11

IlI0 Division by Mr [William] Gorton [no bass]

[followed by four Preludes and nine Cibells all without basses]

As we have seen four of these grounds were already found in Salter and Carr in the 1680s (11 II3-4 II6) Three further grounds (12 15 17 and 111) go back at least to that decade as they are found in the first edition of The Division-Violin (1684) Most of the remainder (16 18-110 112 IT2-4 and IT 6) tum up in the fourth edition of the second part of The Division Violin ([1705]) The violin versions can all be studied conveniently in the facsimiles of The Division Violin published by Performers Facsimiles13 In fact the only grounds that may not have originated for the violin are 110 ITI and Il5-all written by Finger who wrote a considerable quantity of original recorder music IT5 had already appeared in A Collection ofMusicke (see above) ITI is found a little earlier in the composers sonatas for alto recorder and continuo Op 3 (Amsterdam 1701) where it is described as Sonata X Ciacona

The grounds and their divisions vary a great deal in age and sophistication A couple of the grounds (12 16) are variants of the passamezzo antico or romanesca which are chord patterns dating back to dances of the 16th

century Romanesca ill vn i V IT vn i V i Passamezzo antico i vn i V ill vn i V i

IISis similar to liThe Carmans Whistle found in an Elizabethan harpsichord setting by William Byrd Quite why the carman (carter) should have been whistling such an angular tune is hard to fathom

The rustic style is found in 14 as well as 1 7 Habert argues that several other grounds are based on country melodies (12 15-6) although some of their divisions are more artistic A similar mixture is found in a few grounds by Solomon Eccles (18 Il2 IT4) which may have been intended to represent the country style in the theater

It is worth pointing out that four grounds at the end of the second part of The Division Flute are presented without basses-which must have been a common manner of performance especially by amateurs The Chaconne (IT8) is simply the upper part of an orchestral Chaconne that concludes the second art of Jean-Baptiste Lullys opera Phaeton (1683) transposed up a minor third14

The most splendid recorder settings to a ground were written by Henry Purcell the greatest composer in England during the second half of the 17th century His early work U3 parts upon a Ground written around

167815 survives in an almost complete version for three violins and a fragmentary version for three recorders having apparently been conceived for this double instrumentation from the beginning16 Peter Holman argues that its style relates more to the contrapuntal consort tradition developed in the Private Musick at Court than the French-influenced orchestral idiom of the Twenty-four Violins and its ground bass is actually taken from Christopher Simpsons Compendium of Practical Music (London 1667) where it illustrates canonic writing over a ground Actually the work which has a neutral title alternates three different styles - French chaconne-writing canons and florid divisions - and thus IIsums up the various traditions of Court music Purcells later Two in one upon a Ground Chaconne for flutes part of the incidental music for the play Dioclesian (1691) is a canon at the unison throughout at an interval of two measures over an elaboration of the passacaglia

The passacaglia and chaconne constitute an important family of triple-meter variations in the Baroque period The two types have a complicated history well set out in the articles about them in New Grove 217 By the late Baroque the terms were sometimes used interchangeably and both tended to make use of a ground bass andor harmonic scheme Generally the passacaglia tended to be in the minor key (i V6 iV76 v i) but could also be in the major (I IV V I) with a descending-tetrachord bass It had a fairly slow tempo The chaconne on the other hand was generally in the major (eg I V vi V) when it moved to the first inversion of the dominant (I V6 vi V) then it too had a descending-tetrachord bass The tempo was faster at least in Italy (ciacona)

We have already seen that the tenth sonata of Fingers Op 3 (Amsterdam 1701) was a Ciaconai it is based on a kind of double descending tetrachord (F B-flat-E A-D G-C F) The third (and last) movement of sonata no 8 in that collection is also a Ciacona marked Vivace It begins in D minor with the descending bass D-C-B-flat-A then switches half-way through to F major with the descending bass F-E-D-C At the end of JeanshyPierre Freillon-Ponceins method for the oboe recorder and flageolet La veritable maniere (Paris 1700) is found a Passacaille Ii deux parties pour la Flutte in E minor (pp 71-73) in other words a French-style passacaglia for alto recorder and basso continuo (unfigured) Benedetto Marcellos set of twelve recorder sonatas Op 2 (1712) ends with a grand Ciacona 161 measures long on the descending bass F-E-D-C Since this chaconne is in the same key as the twelfth sonata which

12

boasts on its title page that it features a collection of the best and newest tunes and grounds extant It includes UMr Reddins Ground LlOld Simon the King and LlMr Fardinels Ground as well as a variant of the last called LIThe Kings Health These grounds were by no means original recorder music The first comes from a set of suites attributed only to Reading - perhaps t11e royal violinist Balthasar or Valentine Reading7- in Christ Church Library Mus MS 940 and it turns up a year later in The Division-Violin (London John Playford 1684) The continually varied bass presumably original is presented only in the manuscript (and Holmans edition)

Old Simon the King was probably already circulating in a violin version as it is also found in the 1684 edition of The DivisionshyViolin With its rather crude bass line it is an example of what Holman calls the Llrustic style or in other words the unsophisticated harmonic and melodic manner of country fiddlers Habert argues that such sets of divisions should therefore not be interpreted as figured basses an appropriate performance would be with no realization of the bassshyperhaps even without bass-and alternating or combining the melody instruments of a folk ensemble (violin shawm recorder viola da gamba dulcian double bass cittem bandora)

LlMr Fardinels Ground on the other hand is a transposition of a sophisticated violin piece - a set of variations on the folia presumably written by the French violinist Michel Farinel (1649-1726) who is reputed to have visited England from 1675 to 16798 It too was printed in The Division-Violin The Kings Health was a series of divisions on the folia set to words by Thomas DUrfey and published as a song sheet in 16829 (For more on the folia see below)

A second recorder tutor Robert Carrs The Delightful Companion 2nd ed (London 1686) includes An Italian Ground which again made its way into The Division-Violin but not before the 1695 edition and may therefore have been an original recorder ground All the recorder grounds in Salter and Carr have the advantage of being copiously ornamented in the Frenchified style of the day to

A few other recorder grounds are found in English prints and manuscripts of the period The celebrated Italian violinist Niccola Matteis resident in London from about 167011 included a few recorder divisions in his collections of violin airs published in the 1680s and he indicated that some of the violin airs could be performed on the recorder (for details see the bibliography) A Collection of Musicke in Two Parts by Gottfried Finger and

John Banister II (London 1691) features three divisions on grounds by Finger John Channings commonplace book dated 1697 (British Library Add Ms 35043 f 123v) includes a Solo for the Flute by Finger that is actually a division on a ground

Yet when all is said and done it is The Division Flute that we think about in conjunction with recorder divisions Published by the leading London publishers of the day John Walsh and his colleague Joseph Hare12 as late as 1706-08 it is in effect a retrospective collection containing pieces that go back more than thirty years To help us discuss it better here is a table of contents

Il Readings Ground 34 F I V-I ii-V-vi VshyI

12 Pauls Steeple C g i VII VI7-iv V III VII i-iv-V i

13 Faronells Ground 34 g i V i VII III VII i V i V i VII III VII i-VI

14 Old Simon the King 94 F I I IV V 11shy(V) IVV [1]

15 Tollets Ground 94 C I-V 1-V I-~ V-I 16 Green Sleeves to a Ground 64 d VI

VIIi V VI VII i-V I 17 Johney Cock thy Beavor 64 C I V-ii I

V IV-I V-ii-viI I 18 Division on a Ground [Solomon Eccles]

C d i i VII VII i V ~-Vi 19 A Division on a Ground by Mr

[Solomon] Eccles [q a i-v ~-iv-V 110 A Division on a Ground by Mr

[Gottfried] Finger 34 g i V ~-iv V -i iv-VII IIIshyVI iio-V i

111 A Division on a Ground by Mr Indeg [ie John] Banister [1] 34 G I V vi V IV I-IV ii-V I

I12 A Division on a Ground by Mr Banister [II] [Holman pronounces the text hopelessly corrupt] CF I viiO vi-ii V IV iii iii-V I

IIl A Ground by Mr Finger 34 F IIV7shyv~~-v4~-V7I

II2 A Division to a Ground by Mr Solomon Eccles 64 B-flat I V I-~-V I

Il3 A Division on a Ground [Eccles] 34 F I ii V I

II4 A Ground by Mr Solomon Eccles [Ii A new ground called Fagots] 34 C V-I ii-V IVshyiii V-I

Il5 A Division on a Ground [Finger] 34 F I V-I vi-natur~-ivgt V I ~ V I

ll6 An Italian Ground 34 d i iv VII ill IV7~ Vi

Il7 Chacone by Mr Morgan [no bass] Il8 A Chacone [by Jean-Baptiste Lully no

bass] Il9 Division by Mr [William] Hills [no

bass]

11

IlI0 Division by Mr [William] Gorton [no bass]

[followed by four Preludes and nine Cibells all without basses]

As we have seen four of these grounds were already found in Salter and Carr in the 1680s (11 II3-4 II6) Three further grounds (12 15 17 and 111) go back at least to that decade as they are found in the first edition of The Division-Violin (1684) Most of the remainder (16 18-110 112 IT2-4 and IT 6) tum up in the fourth edition of the second part of The Division Violin ([1705]) The violin versions can all be studied conveniently in the facsimiles of The Division Violin published by Performers Facsimiles13 In fact the only grounds that may not have originated for the violin are 110 ITI and Il5-all written by Finger who wrote a considerable quantity of original recorder music IT5 had already appeared in A Collection ofMusicke (see above) ITI is found a little earlier in the composers sonatas for alto recorder and continuo Op 3 (Amsterdam 1701) where it is described as Sonata X Ciacona

The grounds and their divisions vary a great deal in age and sophistication A couple of the grounds (12 16) are variants of the passamezzo antico or romanesca which are chord patterns dating back to dances of the 16th

century Romanesca ill vn i V IT vn i V i Passamezzo antico i vn i V ill vn i V i

IISis similar to liThe Carmans Whistle found in an Elizabethan harpsichord setting by William Byrd Quite why the carman (carter) should have been whistling such an angular tune is hard to fathom

The rustic style is found in 14 as well as 1 7 Habert argues that several other grounds are based on country melodies (12 15-6) although some of their divisions are more artistic A similar mixture is found in a few grounds by Solomon Eccles (18 Il2 IT4) which may have been intended to represent the country style in the theater

It is worth pointing out that four grounds at the end of the second part of The Division Flute are presented without basses-which must have been a common manner of performance especially by amateurs The Chaconne (IT8) is simply the upper part of an orchestral Chaconne that concludes the second art of Jean-Baptiste Lullys opera Phaeton (1683) transposed up a minor third14

The most splendid recorder settings to a ground were written by Henry Purcell the greatest composer in England during the second half of the 17th century His early work U3 parts upon a Ground written around

167815 survives in an almost complete version for three violins and a fragmentary version for three recorders having apparently been conceived for this double instrumentation from the beginning16 Peter Holman argues that its style relates more to the contrapuntal consort tradition developed in the Private Musick at Court than the French-influenced orchestral idiom of the Twenty-four Violins and its ground bass is actually taken from Christopher Simpsons Compendium of Practical Music (London 1667) where it illustrates canonic writing over a ground Actually the work which has a neutral title alternates three different styles - French chaconne-writing canons and florid divisions - and thus IIsums up the various traditions of Court music Purcells later Two in one upon a Ground Chaconne for flutes part of the incidental music for the play Dioclesian (1691) is a canon at the unison throughout at an interval of two measures over an elaboration of the passacaglia

The passacaglia and chaconne constitute an important family of triple-meter variations in the Baroque period The two types have a complicated history well set out in the articles about them in New Grove 217 By the late Baroque the terms were sometimes used interchangeably and both tended to make use of a ground bass andor harmonic scheme Generally the passacaglia tended to be in the minor key (i V6 iV76 v i) but could also be in the major (I IV V I) with a descending-tetrachord bass It had a fairly slow tempo The chaconne on the other hand was generally in the major (eg I V vi V) when it moved to the first inversion of the dominant (I V6 vi V) then it too had a descending-tetrachord bass The tempo was faster at least in Italy (ciacona)

We have already seen that the tenth sonata of Fingers Op 3 (Amsterdam 1701) was a Ciaconai it is based on a kind of double descending tetrachord (F B-flat-E A-D G-C F) The third (and last) movement of sonata no 8 in that collection is also a Ciacona marked Vivace It begins in D minor with the descending bass D-C-B-flat-A then switches half-way through to F major with the descending bass F-E-D-C At the end of JeanshyPierre Freillon-Ponceins method for the oboe recorder and flageolet La veritable maniere (Paris 1700) is found a Passacaille Ii deux parties pour la Flutte in E minor (pp 71-73) in other words a French-style passacaglia for alto recorder and basso continuo (unfigured) Benedetto Marcellos set of twelve recorder sonatas Op 2 (1712) ends with a grand Ciacona 161 measures long on the descending bass F-E-D-C Since this chaconne is in the same key as the twelfth sonata which

12

IlI0 Division by Mr [William] Gorton [no bass]

[followed by four Preludes and nine Cibells all without basses]

As we have seen four of these grounds were already found in Salter and Carr in the 1680s (11 II3-4 II6) Three further grounds (12 15 17 and 111) go back at least to that decade as they are found in the first edition of The Division-Violin (1684) Most of the remainder (16 18-110 112 IT2-4 and IT 6) tum up in the fourth edition of the second part of The Division Violin ([1705]) The violin versions can all be studied conveniently in the facsimiles of The Division Violin published by Performers Facsimiles13 In fact the only grounds that may not have originated for the violin are 110 ITI and Il5-all written by Finger who wrote a considerable quantity of original recorder music IT5 had already appeared in A Collection ofMusicke (see above) ITI is found a little earlier in the composers sonatas for alto recorder and continuo Op 3 (Amsterdam 1701) where it is described as Sonata X Ciacona

The grounds and their divisions vary a great deal in age and sophistication A couple of the grounds (12 16) are variants of the passamezzo antico or romanesca which are chord patterns dating back to dances of the 16th

century Romanesca ill vn i V IT vn i V i Passamezzo antico i vn i V ill vn i V i

IISis similar to liThe Carmans Whistle found in an Elizabethan harpsichord setting by William Byrd Quite why the carman (carter) should have been whistling such an angular tune is hard to fathom

The rustic style is found in 14 as well as 1 7 Habert argues that several other grounds are based on country melodies (12 15-6) although some of their divisions are more artistic A similar mixture is found in a few grounds by Solomon Eccles (18 Il2 IT4) which may have been intended to represent the country style in the theater

It is worth pointing out that four grounds at the end of the second part of The Division Flute are presented without basses-which must have been a common manner of performance especially by amateurs The Chaconne (IT8) is simply the upper part of an orchestral Chaconne that concludes the second art of Jean-Baptiste Lullys opera Phaeton (1683) transposed up a minor third14

The most splendid recorder settings to a ground were written by Henry Purcell the greatest composer in England during the second half of the 17th century His early work U3 parts upon a Ground written around

167815 survives in an almost complete version for three violins and a fragmentary version for three recorders having apparently been conceived for this double instrumentation from the beginning16 Peter Holman argues that its style relates more to the contrapuntal consort tradition developed in the Private Musick at Court than the French-influenced orchestral idiom of the Twenty-four Violins and its ground bass is actually taken from Christopher Simpsons Compendium of Practical Music (London 1667) where it illustrates canonic writing over a ground Actually the work which has a neutral title alternates three different styles - French chaconne-writing canons and florid divisions - and thus IIsums up the various traditions of Court music Purcells later Two in one upon a Ground Chaconne for flutes part of the incidental music for the play Dioclesian (1691) is a canon at the unison throughout at an interval of two measures over an elaboration of the passacaglia

The passacaglia and chaconne constitute an important family of triple-meter variations in the Baroque period The two types have a complicated history well set out in the articles about them in New Grove 217 By the late Baroque the terms were sometimes used interchangeably and both tended to make use of a ground bass andor harmonic scheme Generally the passacaglia tended to be in the minor key (i V6 iV76 v i) but could also be in the major (I IV V I) with a descending-tetrachord bass It had a fairly slow tempo The chaconne on the other hand was generally in the major (eg I V vi V) when it moved to the first inversion of the dominant (I V6 vi V) then it too had a descending-tetrachord bass The tempo was faster at least in Italy (ciacona)

We have already seen that the tenth sonata of Fingers Op 3 (Amsterdam 1701) was a Ciaconai it is based on a kind of double descending tetrachord (F B-flat-E A-D G-C F) The third (and last) movement of sonata no 8 in that collection is also a Ciacona marked Vivace It begins in D minor with the descending bass D-C-B-flat-A then switches half-way through to F major with the descending bass F-E-D-C At the end of JeanshyPierre Freillon-Ponceins method for the oboe recorder and flageolet La veritable maniere (Paris 1700) is found a Passacaille Ii deux parties pour la Flutte in E minor (pp 71-73) in other words a French-style passacaglia for alto recorder and basso continuo (unfigured) Benedetto Marcellos set of twelve recorder sonatas Op 2 (1712) ends with a grand Ciacona 161 measures long on the descending bass F-E-D-C Since this chaconne is in the same key as the twelfth sonata which

12

begins in F major and ends in 0 minor it was presumably intended as the last movement of this sonata

The folia originated as a Portuguese dance by the late 15th century18 The name means mad or empty-headed and a witness writing in 1611 described the dance as so fast and noisy that the dancers seemed out of their minds The earliest folias were in 34 meter but the melody and harmonic changes often switched between 32 and 64 meter The harmonic scheme was generally i V i VII i V i VII i V i the harmonic rhythm varying a great deal By 1672 when Lully composed the first known example of the new type the folia had changed somewhat The harmonic scheme had now become i V i VII ill VII i V i V i VII III VII i-Vi in a regular harmonic rhythm The meter was 34 with alternations of emphasis on the first and second beats of the bar The key was almost always 0 minor and the tempo was slow and dignified

Besides the transposition of Michel Fariners violin divisions on the folia already mentioned above there are four other settings of the later folia for the recorder The least known is the anonymous Partite di Follia per Flauto in an early eighteenth-century manuscript collection of Sinfonie di variij autori for alto recorder and basso continuo (Biblioteca Palatina Parma CF-V-23 ff 63shy72) This setting retains the original key of the folia 0 minor So too do the trio setting by Johann Christian amphickhardt which constitutes the six piece in his collection of trio sonatas for two alto recorders and basso continuo op 6 (Amsterdam [1710]) and the solo setting by Paolo Benedetto Bellinzani which appears as the fourth movement of the twelfth sonata in his collection of sonatas for alto recorder and basso continuo Op 3 (Venice 1720)

The famous setting of the folia for the Recorder is of course that by Arcangelo Corelli It is a transposition into G minor of the twelfth of his collection of violin sonatas Op 5 which were first published in Rome in 1700 The recorder arrangement came out in London only two years later and was presumably the work of a professional player such as John Banister II or Robert King who had been jointly responsible for importing the violin edition19

Finally there are a few other recorder examples of grounds from around 1700 William Crofts third sonata from a collection of sonatas and solos published in 1700 is in fact a set of divisions The ground (I V6 I-IV-viJV V I V6 vi6-IV-V43 I) is twice repeated exactly four times varied once ornamented and twice contrasted with a

strain that goes to the dominant (I V I-vii6 I-vii6 vi-V V-vii6 Vi6-VV43 V) finishing with a giga variant George Bingham who served in the Private Musick at Court between 1689 and 1696 seems to have then moved to Amsterdam where he published four collections of Airs anglois (English airs) between 1702 and 170620 Three of these volumes collectively include several grounds over sophisticated basses by Finger Gottfried Keller and Thomas Williams all presumably originally written for the recorder

Facsimiles and Modern Editions

The Division Flute The First Part of The Division Flute Containing a Collection of Divisions upon Several Excellent Grounds for the Flute Being Very Improveing and Delightfull to All Lovers of That Instrument London John Walsh amp Joseph Hare 1706 The Second Part of The Division Flute Containing the Newest Divisions upon the Choisest Grounds for the Flute as also Several Excellent Preludes Chacons and Cibells by the Best Masters London John Walsh Joseph Hare amp P[eter] Randall [1708] Facsimiles

Of both parts Ed Alvaro Marias Colecci6n Musica Facsimil Serle a nfunero MFa 7 Madrid Arte Tripharia 1984

Of both parts Basel Musica musica 1979 First part New York Performers

Facsimiles 1986 Performers Editions 18515 Second part New York Performers

Facsimiles nd Performers Editions 17316 Editions

The Division Recorder Books One and Two 2 vols Ed Peter Holman New York ShattingershyInternational Music Corp 1979 Includes 11shy12 and II1-6 as well as some other divisions mentioned below Holman based the edition not only on The Division Flute but on all other surviving versions of the pieces The preface presents a historical account of the ground bass in England and gives brief advice on performance practice and improvising from a figured bass

The Division Flute a Collection of Seventeen Compositions Originally Published in 1702 [sic] by John Walsh for Alto Recorder or Flute and Continuo Ed William Hullfish Brooklyn NY Anfor Music 1980

The Division Flute I (1706) Containing a Collection of Divisions upon Several Excellent Grounds = Divisions for Altblockjlote und Basso Continuo Ed Andreas Habert OCR Habert and Michael Reidick Winterthur Amadeus 1987 BP 710

The Division Flute II (1708) Containing the Newest Divisions upon the Choicest Grounds =

13

Divisions flir Altblockjlote und Basso continuo Ed Andreas Habert Winterthur Amadeus 1987 BP 711

The Division Flute flir Altblockjlote und Basso continuo 2 vols Ed Johannes Bommann Schonaich Musikverlag Bommann 199- MVB 11-12

Selections Variaciones sobre bajos obstinados (1706) para

jlauta dulce contralto (flauta travesera oboe violin) y teclado 0 guitarra = Divisions on Grounds (1706) for Alto Recorder (Flute Oboe Violin) and Keyboard or Guitar Serie didactica de musica antigua = Didactic Series of Early Music Buenos Aires Ricordi Americana 1977 Includes IT6 IT5 III 110 IT9 13 and 1 II

Greensleeves y otras vanaciones (1706) para jlauta dulce soprano 0 tenor (flauta travesera oboe violin) y teclado 0 guitarra = Greensleeves and Other Divisions (1706) for Soprano or Tenor Recorder (Flute Oboe Violin) and Keyboard or Guitar Ed Mario A Videla Serle didactica de musica antigua = Didactic Series of Early Music Buenos Aires Ricordi Americana 1977 Includes only 16 16 and 12 transposed down a fourth

The Division Flute (1706) Divisions flir Altblockjlote und Basso continuo Ed Hans Martin Linde Mainz B Schotts SOhne 1968 OFB 18 RMS 2026 Edition Schott 5737 PI no 41895 Comprises only 13 If2 (called U A Division to a Ground) and IT5 (erroneously called upauls Steeple)

The Division Flute for Altblockjlote (Sopranino) und Basso Continuo = for Treble Recorder (Sopranino) and Basso Continuo ]ohney Cock thy Beavor A Division on a Ground by Valentine Reading Ed Manfred Harras Kassel Barenreiter 1988 BA 8087 Comprises 17 and 11

Divisions upon a Ground for Altblockjlote und Basso continuo Ed Siegfried Petrenz Celle Moeck 1987 Das Blockfloten Repertoire Ed Moeck 2552 Includes 111 110 and 15

The Division Flute for Sopranblockjlote und Basso continuo = for Soprano Recorder and Basso Continuo Greensleeves to a Ground A Division on a Ground by Mr Finger Ed Manfred Harras Kassel Bdrenreiter 1987 BA 8082 Comprises 16 and 110

Sololiteratur des Hochbarock flir Altblockjlote =

CEuvres baroques pour jlute abec alto seule Ed Bernard Thomas Kassel Barenreiter 1989 BA 8259 Licensed from Dolce Edition Brighton 1990 Comprises IT10 and II9

16 Greensleeves to a Ground Twelve Divisions on

the Tune for Descant Recorder and Harpsichord

Ed Carl F Dolmetsch BCR Arnold Dom1 tgtch London amp New York Schott 1939 AP338 RMS 58 S amp Co 5006

Greensleeves to a Ground for Treble Recorder and Keyboard =flir Altblockflote und Klavier Ed Arnold amp Carl Dolmetsch London Schott 1957 6102 Ed 10596

Greensleeves to a Ground from The Division Flute 1706 Ed George Hunter Provincetown Provincetown Bookshop 1981 6

Green Sleeves to a Ground for Flute (Recorder Violin) with a Ground for Lute (GuitarKeyboard) with the Violl [sic] da Gamba Munich TreeshyEditions 1983

Included in Meister der Variationen im Barock flir Sopran- und Altblocktlote = Baroque Masters of Variation for Descant and Treble Recorder vol 1 Ed Gabor Kallay Budapest Editio Musica 1996 Z 14136

110 Gottfried Finger Tempo di menuetto The

Division Flute (1706) no 2 Divisions for Treble Recorder and Keyboard Ed Freda Dinn London Schott 1957 Mainz Schott 1967 RMS 860 5amp Co 6108

Division on a Ground by Mr Finger The Division Flute (London 1706) for Treble Recorder and Basso Continuo Ensemble Series IV Tokyo Collegium Musicum Tokyo 1976

IT5 Divisions on The Carmans Whistle Treble

Recorder and Harpsichord (Piano) = Altblockjlote und Cembalo (Klavier) Ed Carl Dolmetsch BCR Joseph Saxby London Universal Edition 1968 II flauto dolce Dolmetsch Recorder Series UE 14024 L

IT6 Included in First Repertoire Pieces for

Recorder TrebleAlto Ed Steve Rosenberg BCR Webb Wiggins London amp New York Boosey amp Hawkes 1985 7109 BampH 20746

Salter Genteel Companion Humphry Salter The Genteel Companion Being Exact Directions for the Recorder With a Collection of the Best and Newest Tunes and Grounds Extant London Richard Hunt and the author 1683 Includes Division Flute If1 (pp 34-35) 13 (pp 40-41 another version as liThe Kings Health extra pp [4-5]) and 14 (pp 38shy39) Facsimiles

New York Performers Facsimiles nd Editions

Holman Division Recorder 11 If3 and 1 4

Divisions upon a Ground flir Altblockjlote Gitarre und Bassinstrument (Basso continuo) Ed

14

Johannes Klier Celle Moeck 1986 Das Blockfloten Repertoire Ed Moeck 2551 Includes Mr FardineYs Ground and Mr Reddins Ground (see also under Carr below)

Carr Delightful Companion Robert CarrThe Delightful Companion 2nd ed London John Playford and John Carr 1686 IncludesAn Italian Ground (early version of Division Flute 116) (sig CD) Editions

Holman Division Recorder II6 Divisions upon an Italian Ground aus The

Delightful Companion 1686 for Altblockflote (oder Sopranblockflote) und Basso Continuo Ed Hans Martin Linde Mainz B Schotts SOhne 1965 Originalmusik fUr Blockflote OFB 15 5344 PI no 41046

Divisions upon an Italian Ground London 1689 [sic] for Gitarre und Altblockflote bzw Laute (in franz Tabulatur) und Altblockflote Ed Hartmut Dentier Cologne Gitarre + Laute Verlagsgese11schaft 1983 G+L 140

Divisions upon a Ground for Altblockflote Gitarre und Bassinstrument (Basso continuo) Ed Johannes Klier Celle Moeck 1986 Das Blockfloten Repertoire Ed Moeck 2551 Includes 1 An Italian Ground (see also under Salter above)

Nicola Matteis Ayres for the Violin to wit Preludes Fuges Allmands Sarabands Courants Figues Fancies Divisions and Likewise Other Passages Introductions and Fuges for Single and Double Stops with Divisions Somewhat More Artificial For the Emproving of the Hand upon the Base Viol or Harpsichord The Third and Fourth Parts Np np nd

TheAria for the Flute pp 38-39 has a Variata that is close to the original and indeed more like a variant than a division

Aria con Divisioni For the Flute pp 52shy53

Ground after the Scotch humour pp 60shy61 34 F I I-ii V-I ii-V I See Holman Division Recorder 117 Not actually part of a suite marked for the flute as Holman claims - only the third of the three pieces in F major that begin with this Ground is marked in that way - but it is included in the Table of the most easy ayres in ye book that may be playd with the flute as well as the violin

This table also includes Third part Gavotta con divisioni pp 16-17 Aria con divisione pp 46-47 1Aria con divisione per far la mano pp 76-77 (goes down to d) 1Aria pp SO-SI (two phrases in each case the division appears before the simple melody) Aria sminuita per far la mano pp 84-S5 Sarabanda siminuita pp 104-05

Aria con divisione pp 112-13 Fourth part Minuetto con sua Divisione pp 20-21 Other Ayres and Pieces for the Violin Bass-Viol and Harpsichord Somewhat More Difficult and Artificial then [sic] the Former Composd for the Practice and Service of Greater Masters upon those Instruments The Fourth Part Np np nd

Expanded edition Other Ayres and Pieces for the Violin Bass Viol and Harpsechord Somewhat More Difficult and Artificial Than the Former Composed for the Practice and Service ofGreater Masters Upon Those Instruments The Fourth Part The Book Enlarged and Perfected with a Second Treble London 1685

Aria For the Flute (with one division) pp 3S-39 Facsimiles

Ayrs for the Violin the First Part Other Ayrs the Second Part Ayres for the Violin The Third and Fourth Parts and Other Ayres and Pieces The Fourth Part Published collectively Ridgewood NJ Gregg Press 1966

Ayrs for the Violin Supplement Famborough Hampshire Gregg International Publishers 1972 Editions

Ground after the Scotch Humour and Other Divisions for Alto Recorder and Continuo Ed Bernard Thomas Divisions from the 16th to the ISth Centuries Brighton Dolce Edition 1996 Includes Ground after the Scotch Humour Gavotta con divisioni (transposed up a tone) and Aria con divisioni For the Flute as well as four violin divisions

Gottfried Finger A Collection of Musicke in Two Parts Consisting of Ayres Chacones Divisions and Sonatas for Violins or Flutes By Mr G Finger To Which is Added A Sett ofAyres in Four Parts By Mr John Banister London Printed by J Heptinstall for Mr John Banister 1691 [Included in Second Treble part]

Division Ground Bass in Qaut [Finger] ppl0-ll 6S C I-V l-viiJV-V I-IV-I V-I

Ground in Gamut [Finger] p 11 C G 1shyV-I-Vvir-V V-VI-IV-V7 V-I

Division Ground [Finger] pp 12-13 (early version of Division Flute IT5) Editions

Holman Division Recorder IIS 119 and 115

British Library Add Ms 35043 f 123v John Channings commonplace book dated 1697 Solo for the Flute by Finger

C F I-V-I-V vi-ii-V-I IV-viio7-1 V1 IVVshyV vi-V V V-VI-V-I-V vi-ii-V-IIV-viio7-1 V-I Editions

Holman Division Recorder IT17

15

Airs anglois 50 airs anglois dont les 20 premiers sont aun dessus seulles 10 suivants a2 dessus amp les 20 dernier aun dessus amp une basse Choisis amp mis en ordre par George Bingham Amsterdam Estienne Roger [1702]

45 Ground Mr Tho Williams (in ree only) ree Ix Cdiiv-VTI-vV-III-VIIV-V-iV-i

50 A Ground Mr G Keller (in ree only) ree Ix C F I-V-vi-viiV-V i-i4-V-I Facsimiles

With intro by Paul Raspe 2 partbooks Brussels Royal Conservatory of Music Series 5 Peer Belgium Alamire 1992 Editions

Nos 45 and 50 included in Holman Division Recorder ITII and IT12

40 airs anglois aun dessus amp une basse amp trois sonates les deux premiers a2 dessus amp Ie troisieme aun dessus amp une basse choisis amp mis en ordre par George Bingham livre second Amsterdam Estienne Roger [1702]

5 A Ground Seigr Godfrido Finger ree Ix 34 a i V i-V-i V i V i-i4-V i

19 A Ground Seigr G Finger ree Ix 34 C I-V-I V vi-ii V I V-ii vi-i i4-V-I

Chacone Mr G Finger 2ree Facsimiles

With intro by Paul Raspe 2 partbooks Brussels Royal Conservatory of Music Series 6 Peer Belgium Alamire 1993 Editions

Nos 5 and 19 included in Holman Division Recorder IT13 and IT14

40 airs anglois [pour la flute] aun dessus amp une basse Dont les 16 premiers sont de Monsieur Finger amp les 24 suivants de M George Bingham livre troisieme Amsterdam Estienne Roger [1703]

6 A Ground Adagio 34 d i v ~-iv V 10 Chaconne F 16 Chaconne G Fine delle Arie del Signe

Godfrido Finger Facsimiles

With intro by Paul Raspe 2 partbooks Brussels Royal Conservatory of Music Series 7 Peer Belgium Alamire 1994 Editions

No 6 included in Holman Division Recorder IT15

40 Airs anglois aun Dessus amp une Basse Composez par M George Bingham Livre Quatrieme Dedie a messieurs ses diciples on a adjoute ace livre une Chacconne de Monsieur Finger Amsterdam Estienne Roger [1706]

Separate sheet Ciaccona del Signore G Finger

34 F I V i4-IV V I i4 V I f i v ii7-V V V i ii7 V i F I V i4-IV V I i4 V I Facsimiles

2 partbooks Brussels Royal Conservatory of Music Series 8 Peer Belgium Alamire 1997 Editions

Fingers chaconne included in Holman Division Recorder IT16

Henry Purcell Two in one upon a Ground from Dioclesian Z627 (16) Published in The Vocal and Instruments Musick of the Prophetess or the History of Dioclesian London John Carr for the author 1691 Chaconne for Flutes in the Third Act 34 c i v VIIV V i V (i) Facsimile

Basel Musica Musica nd (with 3 parts upon a Ground) Editions

Chaconne for Two Treble Recorders and Keyboard from Dioclesian Ed Walter G Bergmann London Schott 1948 S amp Co Ltd 5408a Schotts Reeorder Series 23

Holman Division Recorder ITI0 Chaconne c-moIl Two in one upon a Ground for

Blockfloten Quartett (AAAB) =for Recorder Quartet (Tr Tr Tr B) Ed Johannes Bornmann Schonaich Musikverlag Bornmann 1995 MVB26

113 parts upon a Ground playd 2 notes higher for F[lutes] Z 731 British Library Ms RM 20h 9 Facsimiles

Basel Musica Musica nd (with Two in one upon a Ground) Editions

Chaconne Three Parts upon a Ground for Three Treble Recorders and Continuo = for drei Altblockfloten und Basso Continuo Ed Layton Ring London Schott 1953 rev 1983 OFB 1002

Fantazias and Miscellaneous Instrumental Music The Works of Henry Purcell XXXI Ed Thurston Dart London Novello 1959 2nd ed Ed Michael TiImouth with additional material provided by Alan Browning and Peter Holman London Stainer amp Bell 1990 Pp 52shy60

Chaconne for drei Altblockfloten und Basso continuo Ed Bernhard pauler Winterthur Amadeus 1982

Three Parts upon a Ground for drei Altblockfloten und Basso continuo Ed Dieter Haag CelIe Moeck 1985 Blockfloten Repertoire Ed Moeck Nr 2539

Fantazia Three Parts upon a Ground for Blockfloten-Quartett (AABB) =for Recorder Quartet (Tr Tr Tr B) Ed Johannes Bornmann

16

Schonaich Musikverlag Bommann 1995 152 MVB 27

Passacaglia and Chaconnes Gottfried Finger Dix sonates a 1 flute amp 1 basse continue opera terza Amsterdam Estienne Roger [1701] No8 third movement IlCiacona marked IIVivace Facsimiles

Ann Arbor W Early Music Facsimiles 197- New York Performers Facsimiles nd Performers Facsimiles 169 Editions

Included in Funf Sonaten for Altblockflote und Basso continuo op 36-10 Ed Ernst Kubitschek Vienna Doblinger 1991 Di1etto musicale 1128 D17 696

Included in Zehn Sonaten for AltblockflOte (Flote Oboe) und Basso continuo op 3 = Ten Sonatas for Treble Recorder (Flute Oboe) and Basso Continuo Ed Bernhard Piiuler OCR Christine Geverl Winterthur Amadeus Verlag 2000 Camera flauto Amadeus 148-149 BP 328shy329

William Croft Six Sonatas or Solos Three for a Violin and Three for the Flute with a Thorough Bass for ye Harpsicord Theorboe or Bass-Viol Composd by Mr Wm Crofts amp an Italian Mr London Walsh amp Hare 1700 Previously sold by John Young 1699 No3 in G major Edition

Included in Sonaten alter Englischer Meister for Altblockflote und Basso continuo II = Sonatas by Old English Masters for Treble Recorder and Basso Continuo II Ed Hugo Ruf Kassel Barenreiter 1971 Hortus musicus 209

Jean-Pierre Freillon-Poncein La veritable maniere dapprendre a jouer en perfection du haut-bois de la flute et du flageolet Avec les principes de la musique pour la voix et pour toutes sortes dinstrumens Paris Jacques Collombat 1700 Passacaille a deux parties pour la Flutte (pp 71-73) Facsimile

With Amand Vanderhagen Methode nouvelle et raisonnee pour Ie hautbois (Geneva Editions Minkoff 1974)

On Playing Oboe Recorder and Flageolet Trans with an introduction by Catherine Parsons Smith Publications of the Early Music Institute Bloomington Indiana University Press 1992 The musical examples are given in facsimile Editions

Passacaille and Two Menuets for Alto Recorder and Basso Continuo Ed David Lasocki OCR Robert Paul Block Tokyo Zen-On 1978 R-

Benedetto Marcello Suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo opera seconda Venice Gioseppe Sala 1712 XII suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo opera seconda Amsterdam Estienne Roger [1715] (plate 368)

Ciaccona (ESF no C766) [apparently intended as a finale to Sonata No 12 (ESF no C767)] Facsimiles

Of Roger edition New York Performers Facsimiles 1988 39831

Of both Sala and Roger editions (the latter photographically reduced in an appendix) Suonate a flauto solo Venezia 1712 With preface by Marcello Castellani Florence Studio per edizioni scelte 1980 Archivum musicum Collana di testi rari 37 Editions

Ciacona opus 2 no 12 for Alto Recorder and Basso Continuo Ed David Lasocki OCR Robert Paul Block Tokyo Zen-On 1980 R-159

Included in Zwolj Sonaten for Altblockflote oder Querflote und Basso continuo op 2 = Twelve Sonatas for Treble Recorder or Flutes [sic] and Basso Continuo Ed Willy Hess Winterthur Amadeus 1982 Camera flauto Amadeus 40shy43 BP 2056-2059

Included in 12 sonate per flauto e basso continuo op 2 2 vols Ed Istvan Maruissy Budapest Editio Musica 1989 Z 13 476-Z 13 477

Folias See Salter and Division Flute I3 above

Johann Christian Schickhardt Sonates pour la chambre adeux flutes et une basse continue sixieme ouvrage (Amsterdam Estienne Roger [1710]) No6 D minor Edition

Variations on La Folia Opus 6 No6 for 2 treble recorders and basso continuo Ed David Lasocki OCR John Madden London Nova Music 1979 NM 107

Paolo Benedetto Bellinzani Sonate a flauto solo con cembalo 0 violoncello opera terza (Venice Antonio Bortoli 1720) No 12 4th movement D minor Facsimile

Florence Studio per edizioni scelte 1979 Archivum musicum Collana di testi rari 9 Editions

Sonata in d Opus 3 no 12 (including Variations on La Follia) for Treble Recorder (Flute) and Basso Continuo Ed David Lasocki OCR

17

John Madden London Nova Music 1979 NMl23

Included in 4 sonate per flauto e basso continuo op 3 Ed Istvan Manassy Budapest Editio Musica 1984 Z 12 792

Sonate d-Moll for Altblockflote und Basso continuo op 312 mit Variationen iiber La Follia = Sonata D minor for Treble Recorder and Basso Continuo op 312 with Variations on La Follia Ed Martin Heidecker OCR Siegfried Petrenz Vienna Universal Edition 1991 UE 18744

Arcangelo Corelli Six Solos for a Flute and a Bass Being the Second Part of his Fifth Opera the Whole Exactly Transposd and Made Fitt for a Flute and a Bass with the Aprobation of Severall Eminent Masters London Walsh amp Hare 1702 No6 G minor

Facsimile Presentation par Susi Mohlmeier amp

Frederique Thouvenot publiee sous la direction de Jean Saint-Arroman Courlay JM Fuzeau 1998 Facsimile Jean-Marc Fuzeau Collection Dominantes 5558 Editions

La follia Arrangement for Recorder and Figured Bass Published circa 1710 by John Walsh Ed Colin Sterne New York Hargail Music Press 1956 HCA-14

La Follia Opus 5 Number 12 for Alto Recorder (Flute or Oboe) and Piano Ed Bernard Krainis BCR Paul Maynard New York McGinnis amp Marx 1957 Music for Wind Instruments by 18th Century Masters No9

La follia for Altblockflote und Basso continuo Ed Hans Martin Linde Mainz Schott 1972 Originalmusik fUr Blockflote 121

La Follia Op 5 No 12 Ed Masahiro Arita BCR Chiyoko Arita Tokyo Zen-On 1977 Rshy145

Follia pour flute abec alto et basse continue op 5 no 12 Ed Jean Claude Veilhan Paris Alphonse Leduc 1983 AL27 006

Included in 6 Sonatas from Opus 5 for Treble Recorder and Basso Continuo = for Altblockflote und Basso continuo 2 vols Ed Gwilym Beechey Mainz Schott 1993 ED 12303-ED 12304

Included in Meister der Variationen im Barock for Sopran- und Altblocktlote Baroque Masters of Variation for Descant and Treble Recorder vol 1 Ed Gabor Kallay Budapest Editio Musica 1996 Z 14136

Included in 6 Sonaten for Altblockflote und Basso continuo Ed Winfried Michel Miinster Mieroprint 1998 EM 2021

Included in 12 Sonaten for Altblockflote und Basso continuo Opus 5 Ed Martin Nitz New York Heinrichshofen 1982-84 Noetzel N4092-N4094

Anonymous Partite di Follia per Flauto in Sinfonie di variij auton for alto recorder and basso continuo (Biblioteca Palatina Parma CF-Vshy23 ff 63-72) Facsimile

Sinfonie di varij autori Florence Studio per edizioni scelte 1982 Archivum musicum Collana di testi rari 48

Notes 1 Facsimile New York Performers Facsimiles nd All recorder players interested in improvising or composing divisions on grounds should read Simpson See also William Hullfish Divisions The Art of Improvising Your Own Divisions 1 (September 1978) 4-13 The Division Flute An Introduction to Playing Upon a Ground NACWPI Journal 27 no 2 (Winter 1978-79) 4shy23 and Improvising Divisions upon a Ground The American Recorder 21 no 2 (August 1980) 73-78 and Matthias Mautes article in this issue

2 The New Grove Dictionary ofMusic and Musicians zoo ed sv Ground by Richard Hudson online version at http wwwgrovemusiccom

3 Habert (see n 6) 96-97

4 New Grove 2 sv Division by Frank Traficante

5 David Lasocki Paisible James in A Biographical Dictionary of English Court Musicians 1485-1714 compiled by Andrew Ashbee and David Lasocki assisted by Peter Holman and Fiona Kisby (Aldershot and Brookfield VT Ashgate 1988) II 861

6 Wege durch die Division Flute Zur Variationspraxis in der englischen Kunst- und Volksmusik des 17 Jahrhunderts Basler Jahrbuch for histonsche Musikpraxis 11 (1987) 89-138

7 See A Biographical Dictionary II 948

8 New Grove 2 sv Farinel Michel by Marcelle Benoit with Erik Kocevar

9 Modem editions of both Fardinels violin divisions and liThe Kings Health are found in Richard Hudson The Folia the Saraband the Passacaglia and the Chaconne The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar vol 1 The Folia (Neuhausen-Stuttgart Hanssler-Verlag

18

Johannes Klier Celle Moeck 1986 Das Blockfloten Repertoire Ed Moeck 2551 Includes Mr FardineYs Ground and Mr Reddins Ground (see also under Carr below)

Carr Delightful Companion Robert CarrThe Delightful Companion 2nd ed London John Playford and John Carr 1686 IncludesAn Italian Ground (early version of Division Flute 116) (sig CD) Editions

Holman Division Recorder II6 Divisions upon an Italian Ground aus The

Delightful Companion 1686 for Altblockflote (oder Sopranblockflote) und Basso Continuo Ed Hans Martin Linde Mainz B Schotts SOhne 1965 Originalmusik fUr Blockflote OFB 15 5344 PI no 41046

Divisions upon an Italian Ground London 1689 [sic] for Gitarre und Altblockflote bzw Laute (in franz Tabulatur) und Altblockflote Ed Hartmut Dentier Cologne Gitarre + Laute Verlagsgese11schaft 1983 G+L 140

Divisions upon a Ground for Altblockflote Gitarre und Bassinstrument (Basso continuo) Ed Johannes Klier Celle Moeck 1986 Das Blockfloten Repertoire Ed Moeck 2551 Includes 1 An Italian Ground (see also under Salter above)

Nicola Matteis Ayres for the Violin to wit Preludes Fuges Allmands Sarabands Courants Figues Fancies Divisions and Likewise Other Passages Introductions and Fuges for Single and Double Stops with Divisions Somewhat More Artificial For the Emproving of the Hand upon the Base Viol or Harpsichord The Third and Fourth Parts Np np nd

TheAria for the Flute pp 38-39 has a Variata that is close to the original and indeed more like a variant than a division

Aria con Divisioni For the Flute pp 52shy53

Ground after the Scotch humour pp 60shy61 34 F I I-ii V-I ii-V I See Holman Division Recorder 117 Not actually part of a suite marked for the flute as Holman claims - only the third of the three pieces in F major that begin with this Ground is marked in that way - but it is included in the Table of the most easy ayres in ye book that may be playd with the flute as well as the violin

This table also includes Third part Gavotta con divisioni pp 16-17 Aria con divisione pp 46-47 1Aria con divisione per far la mano pp 76-77 (goes down to d) 1Aria pp SO-SI (two phrases in each case the division appears before the simple melody) Aria sminuita per far la mano pp 84-S5 Sarabanda siminuita pp 104-05

Aria con divisione pp 112-13 Fourth part Minuetto con sua Divisione pp 20-21 Other Ayres and Pieces for the Violin Bass-Viol and Harpsichord Somewhat More Difficult and Artificial then [sic] the Former Composd for the Practice and Service of Greater Masters upon those Instruments The Fourth Part Np np nd

Expanded edition Other Ayres and Pieces for the Violin Bass Viol and Harpsechord Somewhat More Difficult and Artificial Than the Former Composed for the Practice and Service ofGreater Masters Upon Those Instruments The Fourth Part The Book Enlarged and Perfected with a Second Treble London 1685

Aria For the Flute (with one division) pp 3S-39 Facsimiles

Ayrs for the Violin the First Part Other Ayrs the Second Part Ayres for the Violin The Third and Fourth Parts and Other Ayres and Pieces The Fourth Part Published collectively Ridgewood NJ Gregg Press 1966

Ayrs for the Violin Supplement Famborough Hampshire Gregg International Publishers 1972 Editions

Ground after the Scotch Humour and Other Divisions for Alto Recorder and Continuo Ed Bernard Thomas Divisions from the 16th to the ISth Centuries Brighton Dolce Edition 1996 Includes Ground after the Scotch Humour Gavotta con divisioni (transposed up a tone) and Aria con divisioni For the Flute as well as four violin divisions

Gottfried Finger A Collection of Musicke in Two Parts Consisting of Ayres Chacones Divisions and Sonatas for Violins or Flutes By Mr G Finger To Which is Added A Sett ofAyres in Four Parts By Mr John Banister London Printed by J Heptinstall for Mr John Banister 1691 [Included in Second Treble part]

Division Ground Bass in Qaut [Finger] ppl0-ll 6S C I-V l-viiJV-V I-IV-I V-I

Ground in Gamut [Finger] p 11 C G 1shyV-I-Vvir-V V-VI-IV-V7 V-I

Division Ground [Finger] pp 12-13 (early version of Division Flute IT5) Editions

Holman Division Recorder IIS 119 and 115

British Library Add Ms 35043 f 123v John Channings commonplace book dated 1697 Solo for the Flute by Finger

C F I-V-I-V vi-ii-V-I IV-viio7-1 V1 IVVshyV vi-V V V-VI-V-I-V vi-ii-V-IIV-viio7-1 V-I Editions

Holman Division Recorder IT17

15

Airs anglois 50 airs anglois dont les 20 premiers sont aun dessus seulles 10 suivants a2 dessus amp les 20 dernier aun dessus amp une basse Choisis amp mis en ordre par George Bingham Amsterdam Estienne Roger [1702]

45 Ground Mr Tho Williams (in ree only) ree Ix Cdiiv-VTI-vV-III-VIIV-V-iV-i

50 A Ground Mr G Keller (in ree only) ree Ix C F I-V-vi-viiV-V i-i4-V-I Facsimiles

With intro by Paul Raspe 2 partbooks Brussels Royal Conservatory of Music Series 5 Peer Belgium Alamire 1992 Editions

Nos 45 and 50 included in Holman Division Recorder ITII and IT12

40 airs anglois aun dessus amp une basse amp trois sonates les deux premiers a2 dessus amp Ie troisieme aun dessus amp une basse choisis amp mis en ordre par George Bingham livre second Amsterdam Estienne Roger [1702]

5 A Ground Seigr Godfrido Finger ree Ix 34 a i V i-V-i V i V i-i4-V i

19 A Ground Seigr G Finger ree Ix 34 C I-V-I V vi-ii V I V-ii vi-i i4-V-I

Chacone Mr G Finger 2ree Facsimiles

With intro by Paul Raspe 2 partbooks Brussels Royal Conservatory of Music Series 6 Peer Belgium Alamire 1993 Editions

Nos 5 and 19 included in Holman Division Recorder IT13 and IT14

40 airs anglois [pour la flute] aun dessus amp une basse Dont les 16 premiers sont de Monsieur Finger amp les 24 suivants de M George Bingham livre troisieme Amsterdam Estienne Roger [1703]

6 A Ground Adagio 34 d i v ~-iv V 10 Chaconne F 16 Chaconne G Fine delle Arie del Signe

Godfrido Finger Facsimiles

With intro by Paul Raspe 2 partbooks Brussels Royal Conservatory of Music Series 7 Peer Belgium Alamire 1994 Editions

No 6 included in Holman Division Recorder IT15

40 Airs anglois aun Dessus amp une Basse Composez par M George Bingham Livre Quatrieme Dedie a messieurs ses diciples on a adjoute ace livre une Chacconne de Monsieur Finger Amsterdam Estienne Roger [1706]

Separate sheet Ciaccona del Signore G Finger

34 F I V i4-IV V I i4 V I f i v ii7-V V V i ii7 V i F I V i4-IV V I i4 V I Facsimiles

2 partbooks Brussels Royal Conservatory of Music Series 8 Peer Belgium Alamire 1997 Editions

Fingers chaconne included in Holman Division Recorder IT16

Henry Purcell Two in one upon a Ground from Dioclesian Z627 (16) Published in The Vocal and Instruments Musick of the Prophetess or the History of Dioclesian London John Carr for the author 1691 Chaconne for Flutes in the Third Act 34 c i v VIIV V i V (i) Facsimile

Basel Musica Musica nd (with 3 parts upon a Ground) Editions

Chaconne for Two Treble Recorders and Keyboard from Dioclesian Ed Walter G Bergmann London Schott 1948 S amp Co Ltd 5408a Schotts Reeorder Series 23

Holman Division Recorder ITI0 Chaconne c-moIl Two in one upon a Ground for

Blockfloten Quartett (AAAB) =for Recorder Quartet (Tr Tr Tr B) Ed Johannes Bornmann Schonaich Musikverlag Bornmann 1995 MVB26

113 parts upon a Ground playd 2 notes higher for F[lutes] Z 731 British Library Ms RM 20h 9 Facsimiles

Basel Musica Musica nd (with Two in one upon a Ground) Editions

Chaconne Three Parts upon a Ground for Three Treble Recorders and Continuo = for drei Altblockfloten und Basso Continuo Ed Layton Ring London Schott 1953 rev 1983 OFB 1002

Fantazias and Miscellaneous Instrumental Music The Works of Henry Purcell XXXI Ed Thurston Dart London Novello 1959 2nd ed Ed Michael TiImouth with additional material provided by Alan Browning and Peter Holman London Stainer amp Bell 1990 Pp 52shy60

Chaconne for drei Altblockfloten und Basso continuo Ed Bernhard pauler Winterthur Amadeus 1982

Three Parts upon a Ground for drei Altblockfloten und Basso continuo Ed Dieter Haag CelIe Moeck 1985 Blockfloten Repertoire Ed Moeck Nr 2539

Fantazia Three Parts upon a Ground for Blockfloten-Quartett (AABB) =for Recorder Quartet (Tr Tr Tr B) Ed Johannes Bornmann

16

Schonaich Musikverlag Bommann 1995 152 MVB 27

Passacaglia and Chaconnes Gottfried Finger Dix sonates a 1 flute amp 1 basse continue opera terza Amsterdam Estienne Roger [1701] No8 third movement IlCiacona marked IIVivace Facsimiles

Ann Arbor W Early Music Facsimiles 197- New York Performers Facsimiles nd Performers Facsimiles 169 Editions

Included in Funf Sonaten for Altblockflote und Basso continuo op 36-10 Ed Ernst Kubitschek Vienna Doblinger 1991 Di1etto musicale 1128 D17 696

Included in Zehn Sonaten for AltblockflOte (Flote Oboe) und Basso continuo op 3 = Ten Sonatas for Treble Recorder (Flute Oboe) and Basso Continuo Ed Bernhard Piiuler OCR Christine Geverl Winterthur Amadeus Verlag 2000 Camera flauto Amadeus 148-149 BP 328shy329

William Croft Six Sonatas or Solos Three for a Violin and Three for the Flute with a Thorough Bass for ye Harpsicord Theorboe or Bass-Viol Composd by Mr Wm Crofts amp an Italian Mr London Walsh amp Hare 1700 Previously sold by John Young 1699 No3 in G major Edition

Included in Sonaten alter Englischer Meister for Altblockflote und Basso continuo II = Sonatas by Old English Masters for Treble Recorder and Basso Continuo II Ed Hugo Ruf Kassel Barenreiter 1971 Hortus musicus 209

Jean-Pierre Freillon-Poncein La veritable maniere dapprendre a jouer en perfection du haut-bois de la flute et du flageolet Avec les principes de la musique pour la voix et pour toutes sortes dinstrumens Paris Jacques Collombat 1700 Passacaille a deux parties pour la Flutte (pp 71-73) Facsimile

With Amand Vanderhagen Methode nouvelle et raisonnee pour Ie hautbois (Geneva Editions Minkoff 1974)

On Playing Oboe Recorder and Flageolet Trans with an introduction by Catherine Parsons Smith Publications of the Early Music Institute Bloomington Indiana University Press 1992 The musical examples are given in facsimile Editions

Passacaille and Two Menuets for Alto Recorder and Basso Continuo Ed David Lasocki OCR Robert Paul Block Tokyo Zen-On 1978 R-

Benedetto Marcello Suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo opera seconda Venice Gioseppe Sala 1712 XII suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo opera seconda Amsterdam Estienne Roger [1715] (plate 368)

Ciaccona (ESF no C766) [apparently intended as a finale to Sonata No 12 (ESF no C767)] Facsimiles

Of Roger edition New York Performers Facsimiles 1988 39831

Of both Sala and Roger editions (the latter photographically reduced in an appendix) Suonate a flauto solo Venezia 1712 With preface by Marcello Castellani Florence Studio per edizioni scelte 1980 Archivum musicum Collana di testi rari 37 Editions

Ciacona opus 2 no 12 for Alto Recorder and Basso Continuo Ed David Lasocki OCR Robert Paul Block Tokyo Zen-On 1980 R-159

Included in Zwolj Sonaten for Altblockflote oder Querflote und Basso continuo op 2 = Twelve Sonatas for Treble Recorder or Flutes [sic] and Basso Continuo Ed Willy Hess Winterthur Amadeus 1982 Camera flauto Amadeus 40shy43 BP 2056-2059

Included in 12 sonate per flauto e basso continuo op 2 2 vols Ed Istvan Maruissy Budapest Editio Musica 1989 Z 13 476-Z 13 477

Folias See Salter and Division Flute I3 above

Johann Christian Schickhardt Sonates pour la chambre adeux flutes et une basse continue sixieme ouvrage (Amsterdam Estienne Roger [1710]) No6 D minor Edition

Variations on La Folia Opus 6 No6 for 2 treble recorders and basso continuo Ed David Lasocki OCR John Madden London Nova Music 1979 NM 107

Paolo Benedetto Bellinzani Sonate a flauto solo con cembalo 0 violoncello opera terza (Venice Antonio Bortoli 1720) No 12 4th movement D minor Facsimile

Florence Studio per edizioni scelte 1979 Archivum musicum Collana di testi rari 9 Editions

Sonata in d Opus 3 no 12 (including Variations on La Follia) for Treble Recorder (Flute) and Basso Continuo Ed David Lasocki OCR

17

John Madden London Nova Music 1979 NMl23

Included in 4 sonate per flauto e basso continuo op 3 Ed Istvan Manassy Budapest Editio Musica 1984 Z 12 792

Sonate d-Moll for Altblockflote und Basso continuo op 312 mit Variationen iiber La Follia = Sonata D minor for Treble Recorder and Basso Continuo op 312 with Variations on La Follia Ed Martin Heidecker OCR Siegfried Petrenz Vienna Universal Edition 1991 UE 18744

Arcangelo Corelli Six Solos for a Flute and a Bass Being the Second Part of his Fifth Opera the Whole Exactly Transposd and Made Fitt for a Flute and a Bass with the Aprobation of Severall Eminent Masters London Walsh amp Hare 1702 No6 G minor

Facsimile Presentation par Susi Mohlmeier amp

Frederique Thouvenot publiee sous la direction de Jean Saint-Arroman Courlay JM Fuzeau 1998 Facsimile Jean-Marc Fuzeau Collection Dominantes 5558 Editions

La follia Arrangement for Recorder and Figured Bass Published circa 1710 by John Walsh Ed Colin Sterne New York Hargail Music Press 1956 HCA-14

La Follia Opus 5 Number 12 for Alto Recorder (Flute or Oboe) and Piano Ed Bernard Krainis BCR Paul Maynard New York McGinnis amp Marx 1957 Music for Wind Instruments by 18th Century Masters No9

La follia for Altblockflote und Basso continuo Ed Hans Martin Linde Mainz Schott 1972 Originalmusik fUr Blockflote 121

La Follia Op 5 No 12 Ed Masahiro Arita BCR Chiyoko Arita Tokyo Zen-On 1977 Rshy145

Follia pour flute abec alto et basse continue op 5 no 12 Ed Jean Claude Veilhan Paris Alphonse Leduc 1983 AL27 006

Included in 6 Sonatas from Opus 5 for Treble Recorder and Basso Continuo = for Altblockflote und Basso continuo 2 vols Ed Gwilym Beechey Mainz Schott 1993 ED 12303-ED 12304

Included in Meister der Variationen im Barock for Sopran- und Altblocktlote Baroque Masters of Variation for Descant and Treble Recorder vol 1 Ed Gabor Kallay Budapest Editio Musica 1996 Z 14136

Included in 6 Sonaten for Altblockflote und Basso continuo Ed Winfried Michel Miinster Mieroprint 1998 EM 2021

Included in 12 Sonaten for Altblockflote und Basso continuo Opus 5 Ed Martin Nitz New York Heinrichshofen 1982-84 Noetzel N4092-N4094

Anonymous Partite di Follia per Flauto in Sinfonie di variij auton for alto recorder and basso continuo (Biblioteca Palatina Parma CF-Vshy23 ff 63-72) Facsimile

Sinfonie di varij autori Florence Studio per edizioni scelte 1982 Archivum musicum Collana di testi rari 48

Notes 1 Facsimile New York Performers Facsimiles nd All recorder players interested in improvising or composing divisions on grounds should read Simpson See also William Hullfish Divisions The Art of Improvising Your Own Divisions 1 (September 1978) 4-13 The Division Flute An Introduction to Playing Upon a Ground NACWPI Journal 27 no 2 (Winter 1978-79) 4shy23 and Improvising Divisions upon a Ground The American Recorder 21 no 2 (August 1980) 73-78 and Matthias Mautes article in this issue

2 The New Grove Dictionary ofMusic and Musicians zoo ed sv Ground by Richard Hudson online version at http wwwgrovemusiccom

3 Habert (see n 6) 96-97

4 New Grove 2 sv Division by Frank Traficante

5 David Lasocki Paisible James in A Biographical Dictionary of English Court Musicians 1485-1714 compiled by Andrew Ashbee and David Lasocki assisted by Peter Holman and Fiona Kisby (Aldershot and Brookfield VT Ashgate 1988) II 861

6 Wege durch die Division Flute Zur Variationspraxis in der englischen Kunst- und Volksmusik des 17 Jahrhunderts Basler Jahrbuch for histonsche Musikpraxis 11 (1987) 89-138

7 See A Biographical Dictionary II 948

8 New Grove 2 sv Farinel Michel by Marcelle Benoit with Erik Kocevar

9 Modem editions of both Fardinels violin divisions and liThe Kings Health are found in Richard Hudson The Folia the Saraband the Passacaglia and the Chaconne The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar vol 1 The Folia (Neuhausen-Stuttgart Hanssler-Verlag

18

Airs anglois 50 airs anglois dont les 20 premiers sont aun dessus seulles 10 suivants a2 dessus amp les 20 dernier aun dessus amp une basse Choisis amp mis en ordre par George Bingham Amsterdam Estienne Roger [1702]

45 Ground Mr Tho Williams (in ree only) ree Ix Cdiiv-VTI-vV-III-VIIV-V-iV-i

50 A Ground Mr G Keller (in ree only) ree Ix C F I-V-vi-viiV-V i-i4-V-I Facsimiles

With intro by Paul Raspe 2 partbooks Brussels Royal Conservatory of Music Series 5 Peer Belgium Alamire 1992 Editions

Nos 45 and 50 included in Holman Division Recorder ITII and IT12

40 airs anglois aun dessus amp une basse amp trois sonates les deux premiers a2 dessus amp Ie troisieme aun dessus amp une basse choisis amp mis en ordre par George Bingham livre second Amsterdam Estienne Roger [1702]

5 A Ground Seigr Godfrido Finger ree Ix 34 a i V i-V-i V i V i-i4-V i

19 A Ground Seigr G Finger ree Ix 34 C I-V-I V vi-ii V I V-ii vi-i i4-V-I

Chacone Mr G Finger 2ree Facsimiles

With intro by Paul Raspe 2 partbooks Brussels Royal Conservatory of Music Series 6 Peer Belgium Alamire 1993 Editions

Nos 5 and 19 included in Holman Division Recorder IT13 and IT14

40 airs anglois [pour la flute] aun dessus amp une basse Dont les 16 premiers sont de Monsieur Finger amp les 24 suivants de M George Bingham livre troisieme Amsterdam Estienne Roger [1703]

6 A Ground Adagio 34 d i v ~-iv V 10 Chaconne F 16 Chaconne G Fine delle Arie del Signe

Godfrido Finger Facsimiles

With intro by Paul Raspe 2 partbooks Brussels Royal Conservatory of Music Series 7 Peer Belgium Alamire 1994 Editions

No 6 included in Holman Division Recorder IT15

40 Airs anglois aun Dessus amp une Basse Composez par M George Bingham Livre Quatrieme Dedie a messieurs ses diciples on a adjoute ace livre une Chacconne de Monsieur Finger Amsterdam Estienne Roger [1706]

Separate sheet Ciaccona del Signore G Finger

34 F I V i4-IV V I i4 V I f i v ii7-V V V i ii7 V i F I V i4-IV V I i4 V I Facsimiles

2 partbooks Brussels Royal Conservatory of Music Series 8 Peer Belgium Alamire 1997 Editions

Fingers chaconne included in Holman Division Recorder IT16

Henry Purcell Two in one upon a Ground from Dioclesian Z627 (16) Published in The Vocal and Instruments Musick of the Prophetess or the History of Dioclesian London John Carr for the author 1691 Chaconne for Flutes in the Third Act 34 c i v VIIV V i V (i) Facsimile

Basel Musica Musica nd (with 3 parts upon a Ground) Editions

Chaconne for Two Treble Recorders and Keyboard from Dioclesian Ed Walter G Bergmann London Schott 1948 S amp Co Ltd 5408a Schotts Reeorder Series 23

Holman Division Recorder ITI0 Chaconne c-moIl Two in one upon a Ground for

Blockfloten Quartett (AAAB) =for Recorder Quartet (Tr Tr Tr B) Ed Johannes Bornmann Schonaich Musikverlag Bornmann 1995 MVB26

113 parts upon a Ground playd 2 notes higher for F[lutes] Z 731 British Library Ms RM 20h 9 Facsimiles

Basel Musica Musica nd (with Two in one upon a Ground) Editions

Chaconne Three Parts upon a Ground for Three Treble Recorders and Continuo = for drei Altblockfloten und Basso Continuo Ed Layton Ring London Schott 1953 rev 1983 OFB 1002

Fantazias and Miscellaneous Instrumental Music The Works of Henry Purcell XXXI Ed Thurston Dart London Novello 1959 2nd ed Ed Michael TiImouth with additional material provided by Alan Browning and Peter Holman London Stainer amp Bell 1990 Pp 52shy60

Chaconne for drei Altblockfloten und Basso continuo Ed Bernhard pauler Winterthur Amadeus 1982

Three Parts upon a Ground for drei Altblockfloten und Basso continuo Ed Dieter Haag CelIe Moeck 1985 Blockfloten Repertoire Ed Moeck Nr 2539

Fantazia Three Parts upon a Ground for Blockfloten-Quartett (AABB) =for Recorder Quartet (Tr Tr Tr B) Ed Johannes Bornmann

16

Schonaich Musikverlag Bommann 1995 152 MVB 27

Passacaglia and Chaconnes Gottfried Finger Dix sonates a 1 flute amp 1 basse continue opera terza Amsterdam Estienne Roger [1701] No8 third movement IlCiacona marked IIVivace Facsimiles

Ann Arbor W Early Music Facsimiles 197- New York Performers Facsimiles nd Performers Facsimiles 169 Editions

Included in Funf Sonaten for Altblockflote und Basso continuo op 36-10 Ed Ernst Kubitschek Vienna Doblinger 1991 Di1etto musicale 1128 D17 696

Included in Zehn Sonaten for AltblockflOte (Flote Oboe) und Basso continuo op 3 = Ten Sonatas for Treble Recorder (Flute Oboe) and Basso Continuo Ed Bernhard Piiuler OCR Christine Geverl Winterthur Amadeus Verlag 2000 Camera flauto Amadeus 148-149 BP 328shy329

William Croft Six Sonatas or Solos Three for a Violin and Three for the Flute with a Thorough Bass for ye Harpsicord Theorboe or Bass-Viol Composd by Mr Wm Crofts amp an Italian Mr London Walsh amp Hare 1700 Previously sold by John Young 1699 No3 in G major Edition

Included in Sonaten alter Englischer Meister for Altblockflote und Basso continuo II = Sonatas by Old English Masters for Treble Recorder and Basso Continuo II Ed Hugo Ruf Kassel Barenreiter 1971 Hortus musicus 209

Jean-Pierre Freillon-Poncein La veritable maniere dapprendre a jouer en perfection du haut-bois de la flute et du flageolet Avec les principes de la musique pour la voix et pour toutes sortes dinstrumens Paris Jacques Collombat 1700 Passacaille a deux parties pour la Flutte (pp 71-73) Facsimile

With Amand Vanderhagen Methode nouvelle et raisonnee pour Ie hautbois (Geneva Editions Minkoff 1974)

On Playing Oboe Recorder and Flageolet Trans with an introduction by Catherine Parsons Smith Publications of the Early Music Institute Bloomington Indiana University Press 1992 The musical examples are given in facsimile Editions

Passacaille and Two Menuets for Alto Recorder and Basso Continuo Ed David Lasocki OCR Robert Paul Block Tokyo Zen-On 1978 R-

Benedetto Marcello Suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo opera seconda Venice Gioseppe Sala 1712 XII suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo opera seconda Amsterdam Estienne Roger [1715] (plate 368)

Ciaccona (ESF no C766) [apparently intended as a finale to Sonata No 12 (ESF no C767)] Facsimiles

Of Roger edition New York Performers Facsimiles 1988 39831

Of both Sala and Roger editions (the latter photographically reduced in an appendix) Suonate a flauto solo Venezia 1712 With preface by Marcello Castellani Florence Studio per edizioni scelte 1980 Archivum musicum Collana di testi rari 37 Editions

Ciacona opus 2 no 12 for Alto Recorder and Basso Continuo Ed David Lasocki OCR Robert Paul Block Tokyo Zen-On 1980 R-159

Included in Zwolj Sonaten for Altblockflote oder Querflote und Basso continuo op 2 = Twelve Sonatas for Treble Recorder or Flutes [sic] and Basso Continuo Ed Willy Hess Winterthur Amadeus 1982 Camera flauto Amadeus 40shy43 BP 2056-2059

Included in 12 sonate per flauto e basso continuo op 2 2 vols Ed Istvan Maruissy Budapest Editio Musica 1989 Z 13 476-Z 13 477

Folias See Salter and Division Flute I3 above

Johann Christian Schickhardt Sonates pour la chambre adeux flutes et une basse continue sixieme ouvrage (Amsterdam Estienne Roger [1710]) No6 D minor Edition

Variations on La Folia Opus 6 No6 for 2 treble recorders and basso continuo Ed David Lasocki OCR John Madden London Nova Music 1979 NM 107

Paolo Benedetto Bellinzani Sonate a flauto solo con cembalo 0 violoncello opera terza (Venice Antonio Bortoli 1720) No 12 4th movement D minor Facsimile

Florence Studio per edizioni scelte 1979 Archivum musicum Collana di testi rari 9 Editions

Sonata in d Opus 3 no 12 (including Variations on La Follia) for Treble Recorder (Flute) and Basso Continuo Ed David Lasocki OCR

17

John Madden London Nova Music 1979 NMl23

Included in 4 sonate per flauto e basso continuo op 3 Ed Istvan Manassy Budapest Editio Musica 1984 Z 12 792

Sonate d-Moll for Altblockflote und Basso continuo op 312 mit Variationen iiber La Follia = Sonata D minor for Treble Recorder and Basso Continuo op 312 with Variations on La Follia Ed Martin Heidecker OCR Siegfried Petrenz Vienna Universal Edition 1991 UE 18744

Arcangelo Corelli Six Solos for a Flute and a Bass Being the Second Part of his Fifth Opera the Whole Exactly Transposd and Made Fitt for a Flute and a Bass with the Aprobation of Severall Eminent Masters London Walsh amp Hare 1702 No6 G minor

Facsimile Presentation par Susi Mohlmeier amp

Frederique Thouvenot publiee sous la direction de Jean Saint-Arroman Courlay JM Fuzeau 1998 Facsimile Jean-Marc Fuzeau Collection Dominantes 5558 Editions

La follia Arrangement for Recorder and Figured Bass Published circa 1710 by John Walsh Ed Colin Sterne New York Hargail Music Press 1956 HCA-14

La Follia Opus 5 Number 12 for Alto Recorder (Flute or Oboe) and Piano Ed Bernard Krainis BCR Paul Maynard New York McGinnis amp Marx 1957 Music for Wind Instruments by 18th Century Masters No9

La follia for Altblockflote und Basso continuo Ed Hans Martin Linde Mainz Schott 1972 Originalmusik fUr Blockflote 121

La Follia Op 5 No 12 Ed Masahiro Arita BCR Chiyoko Arita Tokyo Zen-On 1977 Rshy145

Follia pour flute abec alto et basse continue op 5 no 12 Ed Jean Claude Veilhan Paris Alphonse Leduc 1983 AL27 006

Included in 6 Sonatas from Opus 5 for Treble Recorder and Basso Continuo = for Altblockflote und Basso continuo 2 vols Ed Gwilym Beechey Mainz Schott 1993 ED 12303-ED 12304

Included in Meister der Variationen im Barock for Sopran- und Altblocktlote Baroque Masters of Variation for Descant and Treble Recorder vol 1 Ed Gabor Kallay Budapest Editio Musica 1996 Z 14136

Included in 6 Sonaten for Altblockflote und Basso continuo Ed Winfried Michel Miinster Mieroprint 1998 EM 2021

Included in 12 Sonaten for Altblockflote und Basso continuo Opus 5 Ed Martin Nitz New York Heinrichshofen 1982-84 Noetzel N4092-N4094

Anonymous Partite di Follia per Flauto in Sinfonie di variij auton for alto recorder and basso continuo (Biblioteca Palatina Parma CF-Vshy23 ff 63-72) Facsimile

Sinfonie di varij autori Florence Studio per edizioni scelte 1982 Archivum musicum Collana di testi rari 48

Notes 1 Facsimile New York Performers Facsimiles nd All recorder players interested in improvising or composing divisions on grounds should read Simpson See also William Hullfish Divisions The Art of Improvising Your Own Divisions 1 (September 1978) 4-13 The Division Flute An Introduction to Playing Upon a Ground NACWPI Journal 27 no 2 (Winter 1978-79) 4shy23 and Improvising Divisions upon a Ground The American Recorder 21 no 2 (August 1980) 73-78 and Matthias Mautes article in this issue

2 The New Grove Dictionary ofMusic and Musicians zoo ed sv Ground by Richard Hudson online version at http wwwgrovemusiccom

3 Habert (see n 6) 96-97

4 New Grove 2 sv Division by Frank Traficante

5 David Lasocki Paisible James in A Biographical Dictionary of English Court Musicians 1485-1714 compiled by Andrew Ashbee and David Lasocki assisted by Peter Holman and Fiona Kisby (Aldershot and Brookfield VT Ashgate 1988) II 861

6 Wege durch die Division Flute Zur Variationspraxis in der englischen Kunst- und Volksmusik des 17 Jahrhunderts Basler Jahrbuch for histonsche Musikpraxis 11 (1987) 89-138

7 See A Biographical Dictionary II 948

8 New Grove 2 sv Farinel Michel by Marcelle Benoit with Erik Kocevar

9 Modem editions of both Fardinels violin divisions and liThe Kings Health are found in Richard Hudson The Folia the Saraband the Passacaglia and the Chaconne The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar vol 1 The Folia (Neuhausen-Stuttgart Hanssler-Verlag

18

Schonaich Musikverlag Bommann 1995 152 MVB 27

Passacaglia and Chaconnes Gottfried Finger Dix sonates a 1 flute amp 1 basse continue opera terza Amsterdam Estienne Roger [1701] No8 third movement IlCiacona marked IIVivace Facsimiles

Ann Arbor W Early Music Facsimiles 197- New York Performers Facsimiles nd Performers Facsimiles 169 Editions

Included in Funf Sonaten for Altblockflote und Basso continuo op 36-10 Ed Ernst Kubitschek Vienna Doblinger 1991 Di1etto musicale 1128 D17 696

Included in Zehn Sonaten for AltblockflOte (Flote Oboe) und Basso continuo op 3 = Ten Sonatas for Treble Recorder (Flute Oboe) and Basso Continuo Ed Bernhard Piiuler OCR Christine Geverl Winterthur Amadeus Verlag 2000 Camera flauto Amadeus 148-149 BP 328shy329

William Croft Six Sonatas or Solos Three for a Violin and Three for the Flute with a Thorough Bass for ye Harpsicord Theorboe or Bass-Viol Composd by Mr Wm Crofts amp an Italian Mr London Walsh amp Hare 1700 Previously sold by John Young 1699 No3 in G major Edition

Included in Sonaten alter Englischer Meister for Altblockflote und Basso continuo II = Sonatas by Old English Masters for Treble Recorder and Basso Continuo II Ed Hugo Ruf Kassel Barenreiter 1971 Hortus musicus 209

Jean-Pierre Freillon-Poncein La veritable maniere dapprendre a jouer en perfection du haut-bois de la flute et du flageolet Avec les principes de la musique pour la voix et pour toutes sortes dinstrumens Paris Jacques Collombat 1700 Passacaille a deux parties pour la Flutte (pp 71-73) Facsimile

With Amand Vanderhagen Methode nouvelle et raisonnee pour Ie hautbois (Geneva Editions Minkoff 1974)

On Playing Oboe Recorder and Flageolet Trans with an introduction by Catherine Parsons Smith Publications of the Early Music Institute Bloomington Indiana University Press 1992 The musical examples are given in facsimile Editions

Passacaille and Two Menuets for Alto Recorder and Basso Continuo Ed David Lasocki OCR Robert Paul Block Tokyo Zen-On 1978 R-

Benedetto Marcello Suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo opera seconda Venice Gioseppe Sala 1712 XII suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo opera seconda Amsterdam Estienne Roger [1715] (plate 368)

Ciaccona (ESF no C766) [apparently intended as a finale to Sonata No 12 (ESF no C767)] Facsimiles

Of Roger edition New York Performers Facsimiles 1988 39831

Of both Sala and Roger editions (the latter photographically reduced in an appendix) Suonate a flauto solo Venezia 1712 With preface by Marcello Castellani Florence Studio per edizioni scelte 1980 Archivum musicum Collana di testi rari 37 Editions

Ciacona opus 2 no 12 for Alto Recorder and Basso Continuo Ed David Lasocki OCR Robert Paul Block Tokyo Zen-On 1980 R-159

Included in Zwolj Sonaten for Altblockflote oder Querflote und Basso continuo op 2 = Twelve Sonatas for Treble Recorder or Flutes [sic] and Basso Continuo Ed Willy Hess Winterthur Amadeus 1982 Camera flauto Amadeus 40shy43 BP 2056-2059

Included in 12 sonate per flauto e basso continuo op 2 2 vols Ed Istvan Maruissy Budapest Editio Musica 1989 Z 13 476-Z 13 477

Folias See Salter and Division Flute I3 above

Johann Christian Schickhardt Sonates pour la chambre adeux flutes et une basse continue sixieme ouvrage (Amsterdam Estienne Roger [1710]) No6 D minor Edition

Variations on La Folia Opus 6 No6 for 2 treble recorders and basso continuo Ed David Lasocki OCR John Madden London Nova Music 1979 NM 107

Paolo Benedetto Bellinzani Sonate a flauto solo con cembalo 0 violoncello opera terza (Venice Antonio Bortoli 1720) No 12 4th movement D minor Facsimile

Florence Studio per edizioni scelte 1979 Archivum musicum Collana di testi rari 9 Editions

Sonata in d Opus 3 no 12 (including Variations on La Follia) for Treble Recorder (Flute) and Basso Continuo Ed David Lasocki OCR

17

John Madden London Nova Music 1979 NMl23

Included in 4 sonate per flauto e basso continuo op 3 Ed Istvan Manassy Budapest Editio Musica 1984 Z 12 792

Sonate d-Moll for Altblockflote und Basso continuo op 312 mit Variationen iiber La Follia = Sonata D minor for Treble Recorder and Basso Continuo op 312 with Variations on La Follia Ed Martin Heidecker OCR Siegfried Petrenz Vienna Universal Edition 1991 UE 18744

Arcangelo Corelli Six Solos for a Flute and a Bass Being the Second Part of his Fifth Opera the Whole Exactly Transposd and Made Fitt for a Flute and a Bass with the Aprobation of Severall Eminent Masters London Walsh amp Hare 1702 No6 G minor

Facsimile Presentation par Susi Mohlmeier amp

Frederique Thouvenot publiee sous la direction de Jean Saint-Arroman Courlay JM Fuzeau 1998 Facsimile Jean-Marc Fuzeau Collection Dominantes 5558 Editions

La follia Arrangement for Recorder and Figured Bass Published circa 1710 by John Walsh Ed Colin Sterne New York Hargail Music Press 1956 HCA-14

La Follia Opus 5 Number 12 for Alto Recorder (Flute or Oboe) and Piano Ed Bernard Krainis BCR Paul Maynard New York McGinnis amp Marx 1957 Music for Wind Instruments by 18th Century Masters No9

La follia for Altblockflote und Basso continuo Ed Hans Martin Linde Mainz Schott 1972 Originalmusik fUr Blockflote 121

La Follia Op 5 No 12 Ed Masahiro Arita BCR Chiyoko Arita Tokyo Zen-On 1977 Rshy145

Follia pour flute abec alto et basse continue op 5 no 12 Ed Jean Claude Veilhan Paris Alphonse Leduc 1983 AL27 006

Included in 6 Sonatas from Opus 5 for Treble Recorder and Basso Continuo = for Altblockflote und Basso continuo 2 vols Ed Gwilym Beechey Mainz Schott 1993 ED 12303-ED 12304

Included in Meister der Variationen im Barock for Sopran- und Altblocktlote Baroque Masters of Variation for Descant and Treble Recorder vol 1 Ed Gabor Kallay Budapest Editio Musica 1996 Z 14136

Included in 6 Sonaten for Altblockflote und Basso continuo Ed Winfried Michel Miinster Mieroprint 1998 EM 2021

Included in 12 Sonaten for Altblockflote und Basso continuo Opus 5 Ed Martin Nitz New York Heinrichshofen 1982-84 Noetzel N4092-N4094

Anonymous Partite di Follia per Flauto in Sinfonie di variij auton for alto recorder and basso continuo (Biblioteca Palatina Parma CF-Vshy23 ff 63-72) Facsimile

Sinfonie di varij autori Florence Studio per edizioni scelte 1982 Archivum musicum Collana di testi rari 48

Notes 1 Facsimile New York Performers Facsimiles nd All recorder players interested in improvising or composing divisions on grounds should read Simpson See also William Hullfish Divisions The Art of Improvising Your Own Divisions 1 (September 1978) 4-13 The Division Flute An Introduction to Playing Upon a Ground NACWPI Journal 27 no 2 (Winter 1978-79) 4shy23 and Improvising Divisions upon a Ground The American Recorder 21 no 2 (August 1980) 73-78 and Matthias Mautes article in this issue

2 The New Grove Dictionary ofMusic and Musicians zoo ed sv Ground by Richard Hudson online version at http wwwgrovemusiccom

3 Habert (see n 6) 96-97

4 New Grove 2 sv Division by Frank Traficante

5 David Lasocki Paisible James in A Biographical Dictionary of English Court Musicians 1485-1714 compiled by Andrew Ashbee and David Lasocki assisted by Peter Holman and Fiona Kisby (Aldershot and Brookfield VT Ashgate 1988) II 861

6 Wege durch die Division Flute Zur Variationspraxis in der englischen Kunst- und Volksmusik des 17 Jahrhunderts Basler Jahrbuch for histonsche Musikpraxis 11 (1987) 89-138

7 See A Biographical Dictionary II 948

8 New Grove 2 sv Farinel Michel by Marcelle Benoit with Erik Kocevar

9 Modem editions of both Fardinels violin divisions and liThe Kings Health are found in Richard Hudson The Folia the Saraband the Passacaglia and the Chaconne The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar vol 1 The Folia (Neuhausen-Stuttgart Hanssler-Verlag

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John Madden London Nova Music 1979 NMl23

Included in 4 sonate per flauto e basso continuo op 3 Ed Istvan Manassy Budapest Editio Musica 1984 Z 12 792

Sonate d-Moll for Altblockflote und Basso continuo op 312 mit Variationen iiber La Follia = Sonata D minor for Treble Recorder and Basso Continuo op 312 with Variations on La Follia Ed Martin Heidecker OCR Siegfried Petrenz Vienna Universal Edition 1991 UE 18744

Arcangelo Corelli Six Solos for a Flute and a Bass Being the Second Part of his Fifth Opera the Whole Exactly Transposd and Made Fitt for a Flute and a Bass with the Aprobation of Severall Eminent Masters London Walsh amp Hare 1702 No6 G minor

Facsimile Presentation par Susi Mohlmeier amp

Frederique Thouvenot publiee sous la direction de Jean Saint-Arroman Courlay JM Fuzeau 1998 Facsimile Jean-Marc Fuzeau Collection Dominantes 5558 Editions

La follia Arrangement for Recorder and Figured Bass Published circa 1710 by John Walsh Ed Colin Sterne New York Hargail Music Press 1956 HCA-14

La Follia Opus 5 Number 12 for Alto Recorder (Flute or Oboe) and Piano Ed Bernard Krainis BCR Paul Maynard New York McGinnis amp Marx 1957 Music for Wind Instruments by 18th Century Masters No9

La follia for Altblockflote und Basso continuo Ed Hans Martin Linde Mainz Schott 1972 Originalmusik fUr Blockflote 121

La Follia Op 5 No 12 Ed Masahiro Arita BCR Chiyoko Arita Tokyo Zen-On 1977 Rshy145

Follia pour flute abec alto et basse continue op 5 no 12 Ed Jean Claude Veilhan Paris Alphonse Leduc 1983 AL27 006

Included in 6 Sonatas from Opus 5 for Treble Recorder and Basso Continuo = for Altblockflote und Basso continuo 2 vols Ed Gwilym Beechey Mainz Schott 1993 ED 12303-ED 12304

Included in Meister der Variationen im Barock for Sopran- und Altblocktlote Baroque Masters of Variation for Descant and Treble Recorder vol 1 Ed Gabor Kallay Budapest Editio Musica 1996 Z 14136

Included in 6 Sonaten for Altblockflote und Basso continuo Ed Winfried Michel Miinster Mieroprint 1998 EM 2021

Included in 12 Sonaten for Altblockflote und Basso continuo Opus 5 Ed Martin Nitz New York Heinrichshofen 1982-84 Noetzel N4092-N4094

Anonymous Partite di Follia per Flauto in Sinfonie di variij auton for alto recorder and basso continuo (Biblioteca Palatina Parma CF-Vshy23 ff 63-72) Facsimile

Sinfonie di varij autori Florence Studio per edizioni scelte 1982 Archivum musicum Collana di testi rari 48

Notes 1 Facsimile New York Performers Facsimiles nd All recorder players interested in improvising or composing divisions on grounds should read Simpson See also William Hullfish Divisions The Art of Improvising Your Own Divisions 1 (September 1978) 4-13 The Division Flute An Introduction to Playing Upon a Ground NACWPI Journal 27 no 2 (Winter 1978-79) 4shy23 and Improvising Divisions upon a Ground The American Recorder 21 no 2 (August 1980) 73-78 and Matthias Mautes article in this issue

2 The New Grove Dictionary ofMusic and Musicians zoo ed sv Ground by Richard Hudson online version at http wwwgrovemusiccom

3 Habert (see n 6) 96-97

4 New Grove 2 sv Division by Frank Traficante

5 David Lasocki Paisible James in A Biographical Dictionary of English Court Musicians 1485-1714 compiled by Andrew Ashbee and David Lasocki assisted by Peter Holman and Fiona Kisby (Aldershot and Brookfield VT Ashgate 1988) II 861

6 Wege durch die Division Flute Zur Variationspraxis in der englischen Kunst- und Volksmusik des 17 Jahrhunderts Basler Jahrbuch for histonsche Musikpraxis 11 (1987) 89-138

7 See A Biographical Dictionary II 948

8 New Grove 2 sv Farinel Michel by Marcelle Benoit with Erik Kocevar

9 Modem editions of both Fardinels violin divisions and liThe Kings Health are found in Richard Hudson The Folia the Saraband the Passacaglia and the Chaconne The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar vol 1 The Folia (Neuhausen-Stuttgart Hanssler-Verlag

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American Institute of Musicology 1982) nos 88-89

10 See Marianne Mezger Performance Practice for Recorder Players Leading Notes Journal of the National Early Music Association 7 (Spring 1994) 13-16 Vom Pleasant Companion zum Compleat Flute Master Englische Blockflotenschulen des 17 und 18 Jh Tibia 20 no 2 (1995) 417-30 and Henry Purcells Chaconne Two in One upon a Ground aus dem dritten Akt der Prophetes or the History of Dioclesian London 1690 ibid XXXIII-XXVI (Die gelbe Seite)

11 New Grove 2 Sv Matteis Niccola (i) by Peter Walls

12 See David Lasocki The London Publisher John Walsh (1665 or 1666-1736) and the Recorder in Sine musica nulla vita Festschrift Hermann Moeck zum 75 Geburtstag am 16 September 1997 ed Nicholaus Delius (Celle Moeck 1997) 343-74

13 The Division-Violin Containing a Choice Collection of Divisions to a Ground for the TrebleshyViolin Being the First Musick of this Kind Ever Published (London John Playford 1684) facsimile New York Performers Facsimiles nd (Performers Editions 47115) The Second Part of the Division Violin Containing the Newest Divisions upon Grounds for the Violin the Fourth Edition (London Walsh amp Hare [1705]) facsimile New York Performers Facsimiles nd (performers Editions 38116)

14 See JB de Lully Phaeteon tragedie lyrique en 5 actes et un prologue paroles de Quinault representee pour la Ire fois aVersailles Ie 6 Janvier 1683 et aParis Ie 27 avril de la meme annee alAcademie Royale de Musique reconstituee et reduite pour piano et chant par Theodore de Lajarte (paris Theodore Michaelis nd reprint New York Broude Brothers Limited 1971) pp 151-55

15 This discussion is based on Peter Holman Compositional Choices in Henry Purcells Three Parts upon a Ground Early Music 29 no 2 (May 2001) 251-61

16 On the problems of reconstructing the missing measure see Layton Ring The Missing Bar in Purcells 3 Parts upon a Ground The Consort 52 no 2 (Autumn 1996) 92-95 and Alec V Loretto Those Two Purcell Missing Bars The Recorder Magazine 21a no 2 (Summer 2001) 49-52 17 New Grove 2 sv Chaconne and Passacaglia by Alexander Silbiger See also

Hudson The Folia the Saraband the Passacaglia and the Chaconne vol III The Passacaglia and vol IV The Chaconne

18 The information in this paragraph is taken from New Grove 2 Sv Folia by Giuseppe Gerbino and Alexander Silbiger

19 David Lasocki Professional Recorder Players in England 1540-1740 2 vols (phD diss The University of Iowa 1983) I 396

20 A Biographical Dictionary I 150-51

Dr David Lasocld is the Head of Reference Services in the Cook Music Library at Indiana University and one of the worlds leading woodwind scholars (see his Web site httpphpindianaedu-lasocki)

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